Mariposa
CommissionAsk about this piece
Disciplines — Body & face art
The body,
painted
for the lights.
Skin as the most alive canvas there is — painted by hand, on the day, to move with the body and glow under the lights.
The most alive canvas there is
Skin moves. So does the paint.
Skin breathes and turns and catches light differently across every plane of the body. Tina paints bodies and faces for editorial shoots, festivals, performances and weddings — from a single luminous detail to a full design built around a concept.
Every piece is made by hand, on the day, on the person — shaped to the body in front of her rather than stamped from a template. The line of a shoulder, the turn of a collarbone, the way a face holds expression: all of it tells the colour where to go and how far to travel.
After dark · under black light
Made to be
seen in motion.
Built for the camera & the lights
Airbrushed, layered, lit from within.
Much of the work is airbrushed — fine, even coats that sit close to the skin and grade from one colour into the next without a visible edge. It is the difference between paint that sits on top of a body and colour that looks like it belongs to it.
What reads right to the eye and what the sensor records are two different things. Colour is chosen for the light you will actually shoot in — daylight, strobe, a warm stage wash, black-light — and built layer by layer so a figure holds together from the first frame to the last.
UV & black-light
Invisible by day. Alive after dark.
Some commissions are painted to vanish in daylight and ignite under black-light — a design that reads as quiet skin in the room and glows like stained glass the moment the house goes dark. It takes the same patient, layered build to make a piece glow cleanly under UV instead of reading as a flat smear. Flip the switch in the corner to watch the whole studio change light.
Selected pieces
A few that were painted to be remembered.
Each one made by hand, on the day, on the person — then photographed under black light, the way it’s meant to be seen. Tap any piece to look closer, or to ask about commissioning something in its spirit.
Reverence
CommissionAsk about this piece
Ember
CommissionAsk about this piece
Atlas
CommissionAsk about this piece
Sacred
CommissionAsk about this piece
Wildgrowth
CommissionAsk about this piece
Indigo
CommissionAsk about this piece
Día de los Muertos
CommissionAsk about this piece
Verdant
CommissionAsk about this piece
Wanderer
CommissionAsk about this piece
Lotus Bloom
CommissionAsk about this piece
Leopardess
CommissionAsk about this piece
Calavera
CommissionAsk about this piece
Anatomy
CommissionAsk about this piece
Wildflower
CommissionAsk about this piece
Prism
CommissionAsk about this piece
Festival & face
Glitter, colour, and a crowd.
Not every piece is a full body. A face caught in colour, a flourish along a brow, a group readied together before they disappear into the lights — festival work is fast, bold and built to hold up in motion and in every phone in the front row.
On the day
Concept to camera.
A clear, unhurried path — so the day itself stays calm and the result is exactly what we planned.
-
01
Concept
We talk through the idea — mood, story, colours, the wardrobe it sits against and where it will be seen. References go both ways, and Tina shapes a direction that suits the body and the brief.
-
02
Patch test
Ahead of the day we confirm products and, where there is any sensitivity, run a small patch test. Skin is cleansed and prepped so colour goes on evenly and wears comfortably for the long hours ahead.
-
03
Paint
The design is built layer by layer — airbrushed grounds, hand-detailed line-work, highlights last. You are comfortable throughout; nothing is rushed toward the camera before it is right.
-
04
Shoot or perform
Tina stays on hand to refresh and touch up between looks, under the lights, so the work holds from the first frame to the last — on set, on stage or down the aisle.
Skin as canvas ✦ painted for the lights ✦ lit from within
Commissions & enquiries